Streaming Music Quotes

We are the music-makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams. World-losers and world-forsakers, Upon whom the pale moon gleams; Yet we are the movers and shakers, Of the world forever, it seems.

And all the voices, all the goals, all the yearnings, all the sorrows, all the pleasures, all the good and evil, all of them together was the world. All of them together was the stream of events, the music of life.

You don't understand music: you hear it. So hear me with your whole body.

The music enchanted the air. It was like the south wind, like a warm night, like swelling sails beneath the stars, completely and utterly unreal... It made everything spacious and colourful, the dark stream of life seemed pulsing in it; there were no burdens any more, no limits; there existed only glory and melody and love, so that one simply could not realize that, at the same time as this music was, outside there ruled poverty and torment and despair.

Moonlight streamed in, sending loving beams over his face. He closed his eyes and basked in it, and I could tell it was calling to him, even though the moon was not full. She didn't speak to me, but Samuel had once described her song to me in the words of a poet. The expression of bliss on his face while he listened to her music made him beautiful.

The truth is, going against the internal stream of ignorance is way more rebellious than trying to start some sort of cultural revolution.

Until recently, I was an ebook sceptic, see; one of those people who harrumphs about the “physical pleasure of turning actual pages” and how ebook will “never replace the real thing”. Then I was given a Kindle as a present. That shut me up. Stock complaints about the inherent pleasure of ye olde format are bandied about whenever some new upstart invention comes along. Each moan is nothing more than a little foetus of nostalgia jerking in your gut. First they said CDs were no match for vinyl. Then they said MP3s were no match for CDs. Now they say streaming music services are no match for MP3s. They’re only happy looking in the rear-view mirror.

There is sweet music here that softer falls Than petals from blown roses on the grass, Or night-dews on still waters between walls Of shadowy granite, in a gleaming pass; Music that gentlier on the spirit lies, Than tir'd eyelids upon tir'd eyes; Music that brings sweet sleep down from the blissful skies. Here are cool mosses deep, And thro' the moss the ivies creep, And in the stream the long-leaved flowers weep, And from the craggy ledge the poppy hangs in sleep.

Religion can never reform mankind because religion is slavery. It is far better to be free, to leave the forts and barricades of fear, to stand erect and face the future with a smile. It is far better to give yourself sometimes to negligence, to drift with wave and tide, with the blind force of the world, to think and dream, to forget the chains and limitations of the breathing life, to forget purpose and object, to lounge in the picture gallery of the brain, to feel once more the clasps and kisses of the past, to bring life's morning back, to see again the forms and faces of the dead, to paint fair pictures for the coming years, to forget all Gods, their promises and threats, to feel within your veins life's joyous stream and hear the martial music, the rhythmic beating of your fearless heart. And then to rouse yourself to do all useful things, to reach with thought and deed the ideal in your brain, to give your fancies wing, that they, like chemist bees, may find art's nectar in the weeds of common things, to look with trained and steady eyes for facts, to find the subtle threads that join the distant with the now, to increase knowledge, to take burdens from the weak, to develop the brain, to defend the right, to make a palace for the soul. This is real religion. This is real worship

Owls hoot in B flat, cuckoos in D, but the water ousel sings in the voice of the stream. She builds her nest back of the waterfalls so the water is a lullaby to the little ones. Must be where they learn it.

Climb every mountain, Ford every stream, Follow every rainbow, 'Till you find your dream. A dream that will need All the love you can give, Every day of your life For as long as you live

The present flowed by them like a stream. The tree rustled. It had made music before they were born, and would continue after their deaths, but its song was of the moment. The moment had passed. The tree rustled again. Their senses were sharpened, and they seemed to apprehend life. Life passed. The tree rustled again.

Did you too see it, drifting, all night, on the black river? Did you see it in the morning, rising into the silvery air - An armful of white blossoms, A perfect commotion of silk and linen as it leaned into the bondage of its wings; a snowbank, a bank of lilies, Biting the air with its black beak? Did you hear it, fluting and whistling A shrill dark music - like the rain pelting the trees - like a waterfall Knifing down the black ledges? And did you see it, finally, just under the clouds - A white cross Streaming across the sky, its feet Like black leaves, its wings Like the stretching light of the river? And did you feel it, in your heart, how it pertained to everything? And have you too finally figured out what beauty is for? And have you changed your life?

I have loved the feel of the grass under my feet, and the sound of the running streams by my side. The hum of the wind in the tree-tops has always been good music to me, and the face of the fields has often comforted me more than the faces of men.

It is a great, a pleasant thing to have a friend with whom to walk, untroubled, through the woods, by the stream, saying nothing, at peace--the heart all clean and quiet and empty, ready for the spirit that may choose to be its guest.

Sometimes by a woodland stream he watched the water rush over the pebbled bed, its tiny modulations of bounce and flow. A woman's body was like that. If you watched it carefully enough you could see how it moved to the rhythm of the world, the deep rhythm, the music below the music, the truth below the truth. He believed in this hidden truth the way other men believed in God or love, believed that truth was in fact always hidden, that the apparent, the overt, was invariably a kind of lie.

The light of thy music illumines the world. The life breath of thy music runs from sky to sky. The holy stream of thy music breaks through all stony obstacles and rushes on. My

Two opposing things can be equally true. Counting the days till Christmas doesn't mean we hate Halloween. I go to church on Sundays, and still hold the same faith at the pub on Saturday night. I shamelessly play a steady stream of eighties pop music and likewise have an undying devotion to Chopin. And perhaps most significantly: I love to travel and I love my home.

To the Technocrats: Have mercy on us. Relax a bit, take time out for simple pleasures. For example, the luxuries of electricity, indoor plumbing, central heating, instant electronic communication and such, have taught me to relearn and enjoy the basic human satisfactions of dipping water from a cold clear mountain stream; of building a wood fire in a cast-iron stove; of using long winter nights for making music, making things, making love; of writing long letters, in longhand with a fountain pen, to the few people on this earth I truly care about.

The Frays had never been a religiously observant family, but Clary loved Fifth Avenue at Christmas time. The air smelled like sweet roasted chestnuts, and the window displays sparkled with silver and blue, green and red. This year there were fat round crystal snowflakes attached to each lamppost, sending back the winter sunlight in shafts of gold. Not to mention the huge tree at Rockefeller Center. It threw its shadow across them as she and Simon draped themselves over the gate at the side of the skating rink, watching tourists fall down as they tried to navigate the ice. Clary had a hot chocolate wrapped in her hands, the warmth spreading through her body. She felt almost normal—this, coming to Fifth to see the window displays and the tree, had been a winter tradition for her and Simon for as long as she could remember. “Feels like old times, doesn’t it?” he said, echoing her thoughts as he propped his chin on his folded arms. She chanced a sideways look at him. He was wearing a black topcoat and scarf that emphasized the winter pallor of his skin. His eyes were shadowed, indicating that he hadn’t fed on blood recently. He looked like what he was—a hungry, tired vampire. Well, she thought. Almost like old times. “More people to buy presents for,” she said. “Plus, the always traumatic what-to-buy-someone-for-the-first-Christmas-after-you’ve-started-dating question.” “What to get the Shadowhunter who has everything,” Simon said with a grin. “Jace mostly likes weapons,” Clary sighed. “He likes books, but they have a huge library at the Institute. He likes classical music …” She brightened. Simon was a musician; even though his band was terrible, and was always changing their name—currently they were Lethal Soufflé—he did have training. “What would you give someone who likes to play the piano?” “A piano.” “Simon.” “A really huge metronome that could also double as a weapon?” Clary sighed, exasperated. “Sheet music. Rachmaninoff is tough stuff, but he likes a challenge.” “Now you’re talking. I’m going to see if there’s a music store around here.” Clary, done with her hot chocolate, tossed the cup into a nearby trash can and pulled her phone out. “What about you? What are you giving Isabelle?” “I have absolutely no idea,” Simon said. They had started heading toward the avenue, where a steady stream of pedestrians gawking at the windows clogged the streets. “Oh, come on. Isabelle’s easy.” “That’s my girlfriend you’re talking about.” Simon’s brows drew together. “I think. I’m not sure. We haven’t discussed it. The relationship, I mean.” “You really have to DTR, Simon.” “What?” “Define the relationship. What it is, where it’s going. Are you boyfriend and girlfriend, just having fun, ‘it’s complicated,’ or what? When’s she going to tell her parents? Are you allowed to see other people?” Simon blanched. “What? Seriously?” “Seriously. In the meantime—perfume!” Clary grabbed Simon by the back of his coat and hauled him into a cosmetics store that had once been a bank. It was massive on the inside, with rows of gleaming bottles everywhere. “And something unusual,” she said, heading for the fragrance area. “Isabelle isn’t going to want to smell like everyone else. She’s going to want to smell like figs, or vetiver, or—” “Figs? Figs have a smell?” Simon looked horrified; Clary was about to laugh at him when her phone buzzed. It was her mother. where are you? It’s an emergency.

Streams of pedestrians dodged them on the sidewalk as they stood with her hand in his, but neither of them noticed. The blaring mixture of car horns, laughter, and music from a nearby club thrashed and echoed around them, but neither of them heard the noise. Simply lost in one another in that moment, nothing else existed. Emily tore her gaze from his…

Readers who were born postmillennium might not understand the fuss, but trust me, this was a goddamned miracle. Nowadays, connectivity is just presumed. Smartphones, laptops, desktops, everything’s connected, always. Connected to what exactly? How? It doesn’t matter. You just tap the icon your older relatives call “the Internet button” and boom, you’ve got it: the news, pizza delivery, streaming music, and streaming video that we used to call TV and movies. Back then, however, we walked uphill both ways, to and from school, and plugged our modems directly into the wall, with manly twelve-year-old hands.

Music is a complete evocation – like a smell. It can bring an entire memory and feeling back to you in a rush. Much more complete than even a photograph. You allow yourself a certain visual distance with photos – not music. It envelopes you – there’s no way to escape it. It’s a great test of sensitivity – the degree of reaction to music. I use it all the time. I call it my ‘Music Test.’ People today don’t want to hear the truth. They’re really afraid of tranquility and silence – they’re afraid they might begin to understand their own motivations too well. They keep a steady stream of noise going to protect themselves, to build a wall against the truth. Like African natives, beating on their drums, rattling their gourds, shaking the bells to scare off evil spirits. As long as there’s enough noise, there’s nothing to fear – or hear. But they will listen. Times are changing.

They were walking beside the stream and the Lion went before them: and he became so beautiful, and the music so despairing, that Jill did not know which of them it was that filled her eyes with tears. Then Aslan stopped, and the children looked into the stream. And there, on the golden gravel of the bed of the stream, lay King Caspian, dead, with the water flowing over him like liquid glass. His long white beard swayed in it like water-weed. And all three stood and wept. Even the Lion wept: great lion-tears, each tear more precious than the Earth would be if it was a single solid diamond.

Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is famed to do, deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music:—do I wake or sleep?

As early as 1930 Schoenberg wrote: "Radio is an enemy, a ruthless enemy marching irresistibly forward, and any resistance is hopeless"; it "force-feeds us music . . . regardless of whether we want to hear it, or whether we can grasp it," with the result that music becomes just noise, a noise among other noises. Radio was the tiny stream it all began with. Then came other technical means for reproducing, proliferating, amplifying sound, and the stream became an enormous river. If in the past people would listen to music out of love for music, nowadays it roars everywhere and all the time, "regardless whether we want to hear it," it roars from loudspeakers, in cars, in restaurants, in elevators, in the streets, in waiting rooms, in gyms, in the earpieces of Walkmans, music rewritten, reorchestrated, abridged, and stretched out, fragments of rock, of jazz, of opera, a flood of everything jumbled together so that we don't know who composed it (music become noise is anonymous), so that we can't tell beginning from end (music become noise has no form): sewage-water music in which music is dying.

We are the music makers, We are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams World-losers and world-forsakers. On whom the pale moon gleams. Yet we are the movers and shakers Of the world for ever, it seems.

The greater puzzle of universal wisdom and beauty that we have strived to honor through our work includes the profound legacies of world artistic and spiritual traditions, the innate integrity of human communities where people seek to live in social harmony, and that regenerative stream of life sustained upon the earth itself as it spins through the cosmos to the music of the spheres.

He yearned for a thousand tremulous dreams, for cool and delicate images, transparent tints, fleeting scents, and exquisite music from streams of highly strung, tensely drawn silvery strings — and then silence, the innermost heart of silence, where the waves of air never bore a single stray tone, but where all was rest unto death, steeped in the calm glow of red colors and the languid warmth of fiery fragrance.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin's Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes' mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin's folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge's fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin's halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep. -The Song of Durin

And she felt the beauty in the music now, drank it in with tears streaming down her face. Never had she been so naked in worship before her Creator, allowing the adoration to bleed out her very fingertips onto the strings, playing her heart's cry for every single lost soul, for the loss of innocence every generation to come would possess as a result of what happened at the killing fields of Auschwitz.

As the sun went down, I saw a solitary boatman disporting on the smooth lake. The falling dews seemed to strain and purify the air, and I was soothed with an infinite stillness. I got the world, as it were, by the nape of the neck, and held it under in the tide of its own events, till it was drowned, and then I let it go down stream like a dead dog. Vast hollow chambers of silence stretched away on every side, and my being expanded in proportion, and filled them. Then first could I appreciate sound, and find it musical.

Women's imaginary is inexhaustible, like music, painting, writing: their stream of phantasms is incredible.

Before the Battle: Music of whispering trees Hushed by the broad-winged breeze Where shaken water gleams; And evening radiance falling With reedy bird-notes calling. O bear me safe through dark, you low-voiced streams. I have no need to pray That fear may pass away; I scorn the growl and rumble of the fight That summons me from cool Silence of marsh and pool, And yellow lilies islanded in light. O river of stars and shadows, lead me through the night.

A voice said: One. One. One, two. One, two. Then the footsteps went back into the distance. After a while, another voice said: One, two, three, four- And the universe came into being. It was wrong to call it a big bang. That would just be noise, and all that noise could create is more noise and a cosmos full of random particles. Matter exploded into being, apparently as chaos, but in fact as a chord. The ultimate power chord. Everything, all together, streaming out in one huge rush that contained within itself, like reverse fossils, everything that it was going to be. And, zigzagging through the expanding cloud, alive, that first wild live music. This had shape. It had spin. It had rhythm. It had a beat, and you could dance to it. Everything did.

Any pub will do?” “McPherson’s, I think. One with music that will alter my life forever, give me eternal happiness, and make me see God. You know. One like that.” “So you need the magical sound of Ireland and some information about an Abbeyglen native. Francine”—Beckett’s eyes danced in the streaming sunlight—“I’m about to solve your every problem.” Beckett stood up and gave my hair a light tug. “Prepare to worship and adore me.

Yea, she hath passed hereby, and blessed the sheaves, And the great garths, and stacks, and quiet farms, And all the tawny, and the crimson leaves. Yea, she hath passed with poppies in her arms, Under the star of dusk, through stealing mist, And blessed the earth, and gone, while no man wist. With slow, reluctant feet, and weary eyes, And eye-lids heavy with the coming sleep, With small breasts lifted up in stress of sighs, She passed, as shadows pass, among the sheep; While the earth dreamed, and only I was ware Of that faint fragrance blown from her soft hair. The land lay steeped in peace of silent dreams; There was no sound amid the sacred boughs. Nor any mournful music in her streams: Only I saw the shadow on her brows, Only I knew her for the yearly slain, And wept, and weep until she come again.

I thought that I would go to Romania and that when I got there I would go to some small town and buy secondhand clothes in the market. Shoes. A blanket. I’d burn everything I owned. My passport. Maybe I’d just put my clothes in the trash. Change money in the street. Then I’d hike into the mountains. Stay off the road. Take no chances. Crossing the ancestral lands by foot. Maybe by night. There are bears and wolves up there. I looked it up. You could have a small fire at night. Maybe find a cave. A mountain stream. I’d have a canteen for water for when the time came that I was too weak to move about. After a while the water would taste extraordinary. It would taste like music. I’d wrap myself in the blanket at night against the cold and watch the bones take shape beneath my skin and I would pray that I might see the truth of the world before I died. Sometimes at night the animals would come to the edge of the fire and move about and their shadows would move among the trees and I would understand that when the last fire was ashes they would come and carry me away and I would be their eucharist. And that would be my life. And I would be happy.

We read the pagan sacred books with profit and delight. With myth and fable we are ever charmed, and find a pleasure in the endless repetition of the beautiful, poetic, and absurd. We find, in all these records of the past, philosophies and dreams, and efforts stained with tears, of great and tender souls who tried to pierce the mystery of life and death, to answer the eternal questions of the Whence and Whither, and vainly sought to make, with bits of shattered glass, a mirror that would, in very truth, reflect the face and form of Nature's perfect self. These myths were born of hopes, and fears, and tears, and smiles, and they were touched and colored by all there is of joy and grief between the rosy dawn of birth, and death's sad night. They clothed even the stars with passion, and gave to gods the faults and frailties of the sons of men. In them, the winds and waves were music, and all the lakes, and streams, and springs,—the mountains, woods and perfumed dells were haunted by a thousand fairy forms. They thrilled the veins of Spring with tremulous desire; made tawny Summer's billowed breast the throne and home of love; filled Autumns arms with sun-kissed grapes, and gathered sheaves; and pictured Winter as a weak old king who felt, like Lear upon his withered face, Cordelia's tears. These myths, though false, are beautiful, and have for many ages and in countless ways, enriched the heart and kindled thought. But if the world were taught that all these things are true and all inspired of God, and that eternal punishment will be the lot of him who dares deny or doubt, the sweetest myth of all the Fable World would lose its beauty, and become a scorned and hateful thing to every brave and thoughtful man.

Written music is like nothing in the world—an index of time. The idea is so bizarre, it’s almost miraculous: fixed instructions on how to recreate the simultaneous. How to be a flow, both motion and instant, both stream and cross section.

The present flowed by them like a stream. The tree rustled. It had made music before they were born, and would continue after their deaths, but its song was of the moment. The moment had passed. The tree rustled again. Their senses were sharpened, and they seemed to apprehend life. Life passed. The tree rustled again.

On the mainland of America, the Wampanoags of Massasoit and King Philip had vanished, along with the Chesapeakes, the Chickahominys, and the Potomacs of the great Powhatan confederacy. (Only Pocahontas was remembered.) Scattered or reduced to remnants were the Pequots, Montauks, Nanticokes. Machapungas, Catawbas, Cheraws, Miamis, Hurons, Eries, Mohawks, Senecas, and Mohegans. (Only Uncas was remembered.) Their musical names remained forever fixed on the American land, but their bones were forgotten in a thousand burned villages or lost in forests fast disappearing before the axes of twenty million invaders. Already the once sweet-watered streams, most of which bore Indian names, were clouded with silt and the wastes of man; the very earth was being ravaged and squandered. To the Indians it seemed that these Europeans hated everything in nature—the living forests and their birds and beasts, the grassy glades, the water, the soil, and the air itself.

I think beyond the superficial accolades, at its core, fans stream and buy albums and merchs, because they want to show that they acknowledge the hard work of the artists and their staff. The stream count, album sales and awards are tangible proof that the idols’ music is good. That they are popular. That they are better.

Fox-Trot By the stream the fox and she-fox stood Nose to nose beneath the stars Dancing the music of the woods. The deer rapped a beat with their hooves, The ravens sang from raven hearts As by the stream the fox and she-fox stood. The great owl called as a great owl would, The squirrels all shimmied in the dark, Dancing the music of the woods. Then from the north a fierce wind blew And broke the starry dance apart By the stream where the fox and she-fox stood.

Durga is the strength and protective power in nature, Lakshmi is its beauty. As Kali is the darkness of night and the great dissolve into nirvana, Lakshmi is the brightness of day and the expansiveness of teeming life. She can be found in rich soil and flowing waters, in streams and lakes that teem with fish. She is one of those goddesses whose signature energy is most accessible through the senses. You can detect her in the fragrance of flowers or of healthy soil. You can see her in the leafed-out trees of June and hear her voice in morning birdsong. If Durga is military band music and Kali heavy metal, Lakshmi is Mozart. She’s chocolate mousse, satiny sheets, the soft feeling of water slipping through your fingers. Lakshmi is growth, renewal, sweetness.

It was a time of chaos, of bombs and floods, when love songs streamed from the radios and wept down the streets. Music sustained weddings, births, rituals, work, marching, boredom, confrontation and death; music and stories, even in times like these, were a refuge, a passport, everywhere.

True ease in writing comes from art, not chance, As those move easiest who have learn'd to dance. 'Tis not enough no harshness gives offence, The sound must seem an echo to the sense. Soft is the strain when Zephyr gently blows, And the smooth stream in smoother numbers flows; But when loud surges lash the sounding shore, The hoarse, rough verse should like the torrent roar. When Ajax strives some rock's vast weight to throw, The line too labours, and the words move slow; Not so, when swift Camilla scours the plain, Flies o'er th' unbending corn, and skims along the main. Hear how Timotheus' varied lays surprise, And bid alternate passions fall and rise! While, at each change, the son of Libyan Jove Now burns with glory, and then melts with love; Now his fierce eyes with sparkling fury glow, Now sighs steal out, and tears begin to flow: Persians and Greeks like turns of nature found, And the world's victor stood subdu'd by sound! The pow'r of music all our hearts allow, And what Timotheus was, is Dryden now.

We are particular and temporarily identifiable wiggles in a stream that enters us in the form of light, heat, air, water, milk, bread, fruit, beer, beef Stroganoff, caviar, and pâté de foie gras. It goes out as gas and excrement—and also as semen, babies, talk, politics, commerce, war, poetry, and music. And philosophy. A

Until now, I've been writing about "now" as if it were literally an instant of time, but of course human faculties are not infinitely precise. It is simplistic to suppose that physical events and mental events march along exactly in step, with the stream of "actual moments" in the outside world and the stream of conscious awareness of them perfectly synchronized. The cinema industry depends on the phenomenon that what seems to us a movie is really a succession of still pictures, running at twenty-five [sic] frames per second. We don't notice the joins. Evidently the "now" of our conscious awareness stretches over at least 1/25 of a second. In fact, psychologists are convinced it can last a lot longer than that. Take he familiar "tick-tock" of the clock. Well, the clock doesn't go "tick-tock" at all; it goes "tick-tick," every tick producing the same sound. It's just that our consciousness runs two successive ticks into a singe "tick-tock" experience—but only if the duration between ticks is less than about three seconds. A really bug pendulum clock just goes "tock . . . tock . . . tock," whereas a bedside clock chatters away: "ticktockticktock..." Two to three seconds seems to be the duration over which our minds integrate sense data into a unitary experience, a fact reflected in the structure of human music and poetry.

she started asking me all kinds of personal questions – how many girls had I slept with? Where I was from? Which university did I go to? What kind of music did I like? Had I ever read any novels by Osamu Dazai? Where would I like to go if I could travel abroad? Did I think her nipples were too big? I made up some answers and went to sleep, but next morning she said she wanted to have breakfast with me, and she kept up the stream of questions over the tasteless eggs and toast and coffee. What kind of work did my father do? Did I get good marks at school? What month was I born? Had I ever eaten frogs? She was giving me a headache, so as soon as we had finished eating I said I had to go to work. . .

The finest music in the room is that which streams out to the ear of the spirit in many an exquisite strain from the little shelf of books on the opposite wall. Every volume there is an instrument which some melodist of the mind created and set vibrating with music, as a flower shakes out its perfume or a star shakes out its light. Only listen, and they soothe all care, as though the silken-soft leaves of poppies had been made vocal and poured into the ear.

This waltz was the music of the softly falling snow on the regal new buildings of the Ringstrasse. It was the spring tulips covering the lawns and arcades in front of the Schönbrunn Palace. It was the indomitable, majestic peaks of the Alps, the red-cheeked goatherds plucking wild edelweiss from the summits. It was the spirited laughter of Viennese students, wooing and debating in the beer gardens and cafés. It was the stately blue Danube, it was the cathedrals, it was the mountain chalets, and it was the ancient villages sprung up around church bell towers and brooks and streams. It was all of it, and it was all Franz Josef.

When I bring to you coloured toys, my child, I understand why there is such a play of colours on clouds, on water, and why flowers are painted in tints---when I give coloured toys to you, my child. When I sing to make you dance I truly now why there is music in leaves, and why waves send their chorus of voices to the heart of the listening earth---when I sing to make you dance. When I bring sweet things to your greedy hands I know why there is honey in the cup of the flowers and why fruits are secretly filled with sweet juice---when I bring sweet things to your greedy hands. When I kiss your face to make you smile, my darling, I surely understand what pleasure streams from the sky in morning light, and what delight that is that is which the summer breeze brings to my body---when I kiss you to make you smile.

Zeke stood up. He held the Tater Tot up to the sunlight streaming in through the cafeteria window. Some kids sitting at tables nearby took notice. They listened in as Zeke began to recite: "Oh, Tater Tot, oh, Tater Tot, so tiny and round, What an amazing potato taste in you I have found! Crispy on the outside, soft and mushy inside - What kind of mysterious potato do you hide? Russet, white, Yukon gold or Idaho? Are you mashed or baked or fried - I really don't know! Mystery spud so tasty and round, What an amazing lunchtime treat in you I have found." Everyone at the table applauded, and Zeke bowed. The kids around him clapped and whooped and laughed.

By noon Carter reached the jasper terraces of Kiran which slope down to the river's edge and bear that temple of loveliness wherein the King of Ilek-Vad comes from his far realm on the twilight sea once a year in a golden palanquin to pray to the god of Oukranos, who sang to him in youth when he dwelt in a cottage by its banks. All of jasper is that temple, and covering an acre of ground with its walls and courts, its seven pinnacled towers, and its inner shrine where the river enters through hidden channels and the god sings softly in the night. Many times the moon hears strange music as it shines on those courts and terraces and pinnacles, but whether that music be the song of the god or the chant of the cryptical priests, none but the King of Ilek-Vad may say; for only he had entered the temple or seen the priests. Now, in the drowsiness of day, that carven and delicate fane was silent, and Carter heard only the murmur of the great stream and the hum of the birds and bees as he walked onward under the enchanted sun.

The Land of Nod From breakfast on through all the day At home among my friends I stay, But every night I go abroad Afar into the land of Nod. All by myself I have to go, With none to tell me what to do — All alone beside the streams And up the mountain-sides of dreams. The strangest things are there for me, Both things to eat and things to see, And many frightening sights abroad Till morning in the land of Nod. Try as I like to find the way, I never can get back by day, Nor can remember plain and clear The curious music that I hear.

In her fantastic mood she stretched her soft, clasped hands upward toward the moon. 'Sweet moon,' she said in a kind of mock prayer, 'make your white light come down in music into my dancing-room here, and I will dance most deliciously for you to see". She flung her head backward and let her hands fall; her eyes were half closed, and her mouth was a kissing mouth. 'Ah! sweet moon,' she whispered, 'do this for me, and I will be your slave; I will be what you will.' Quite suddenly the air was filled with the sound of a grand invisible orchestra. Viola did not stop to wonder. To the music of a slow saraband she swayed and postured. In the music there was the regular beat of small drums and a perpetual drone. The air seemed to be filled with the perfume of some bitter spice. Viola could fancy almost that she saw a smoldering campfire and heard far off the roar of some desolate wild beast. She let her long hair fall, raising the heavy strands of it in either hand as she moved slowly to the laden music. Slowly her body swayed with drowsy grace, slowly her satin shoes slid over the silver sand. The music ceased with a clash of cymbals. Viola rubbed her eyes. She fastened her hair up carefully again. Suddenly she looked up, almost imperiously. "Music! more music!" she cried. Once more the music came. This time it was a dance of caprice, pelting along over the violin-strings, leaping, laughing, wanton. Again an illusion seemed to cross her eyes. An old king was watching her, a king with the sordid history of the exhaustion of pleasure written on his flaccid face. A hook-nosed courtier by his side settled the ruffles at his wrists and mumbled, 'Ravissant! Quel malheur que la vieillesse!' It was a strange illusion. Faster and faster she sped to the music, stepping, spinning, pirouetting; the dance was light as thistle-down, fierce as fire, smooth as a rapid stream. The moment that the music ceased Viola became horribly afraid. She turned and fled away from the moonlit space, through the trees, down the dark alleys of the maze, not heeding in the least which turn she took, and yet she found herself soon at the outside iron gate. ("The Moon Slave")

It was the moths that first revealed the change. Grey-tipped whispers in the moonlit night. Two or three here, a single one there. White ones slipping through the darkness, silent and seemingly harmless, but present. Growing in numbers until they erupted the quiet like flutters of falling ash. There was a music in their silence. The kind of music that attached itself to hums and vibrations in the waters of the earth. The hums, the vibrations, all but imperceptible. With the dawn the moths vanished, leaving a broken land in their wake. The Elian River leaked out into fissures of streams and brooks that first appeared as watery cracks throughout the Faeran Valley. So small at first, we didn't recognize the difference. But as the months and years passed, the Elian slipped further and deeper into the growing fractures of earth the moths had left. Trails of watery branches and veins that broke the ground until it couldn't sustain life any longer. This is what we have against the Bremistans. The land is delicate now, brittle like old bones. And I fear it is aging beyond our ability to heal it....

The drama streamed forth from the might of its own grace, like a waterfall plunging into a woodland pool. Underneath the words, the watery variety of sounds, silences, and terrifying mysteries beat in my pulse, in the ebb and flow of the music. I was not the composer, merely the conduit as this new creation poured out of me, floating like a feather on the breath of God.

Sometimes they just sit. Sometimes one turns on a radio and they listen to music, or to the news, but they don’t care about the actual news, just that the radio is issuing a steadyish sound whose particulars they do not have to follow to understand what the radio is actually telling them: life is being lived. No need to be a part of it as long as you know it’s streaming.

mainland of America, the Wampanoags of Massasoit and King Philip had vanished, along with the Chesapeakes, the Chickahominys, and the Potomacs of the great Powhatan confederacy. (Only Pocahontas was remembered.) Scattered or reduced to remnants were the Pequots, Montauks, Nanticokes. Machapungas, Catawbas, Cheraws, Miamis, Hurons, Eries, Mohawks, Senecas, and Mohegans. (Only Uncas was remembered.) Their musical names remained forever fixed on the American land, but their bones were forgotten in a thousand burned villages or lost in forests fast disappearing before the axes of twenty million invaders. Already the once sweet-watered streams, most of which bore Indian names, were clouded with silt and the wastes of man; the very earth was being ravaged and squandered. To the Indians it seemed that these Europeans hated everything in nature—the living forests and their birds and beasts, the grassy glades, the water, the soil, and the air itself.

the music is not in conditions, not in the things, not in externals, but the music of life is in your own soul. If peace be in the heart, The wildest winter storm is full of solemn beauty, The midnight flash but shows the path of duty, Each living creature tells some new and joyous story, The very trees and stones all catch a ray of glory, If peace be in the heart. CHARLES FRANCIS RICHARDSON

Song for the Last Act Now that I have your face by heart, I look Less at its features than its darkening frame Where quince and melon, yellow as young flame, Lie with quilled dahlias and the shepherd's crook. Beyond, a garden. There, in insolent ease The lead and marble figures watch the show Of yet another summer loath to go Although the scythes hang in the apple trees. Now that I have your face by heart, I look. Now that I have your voice by heart, I read In the black chords upon a dulling page Music that is not meant for music's cage, Whose emblems mix with words that shake and bleed. The staves are shuttled over with a stark Unprinted silence. In a double dream I must spell out the storm, the running stream. The beat's too swift. The notes shift in the dark. Now that I have your voice by heart, I read. Now that I have your heart by heart, I see The wharves with their great ships and architraves; The rigging and the cargo and the slaves On a strange beach under a broken sky. O not departure, but a voyage done! The bales stand on the stone; the anchor weeps Its red rust downward, and the long vine creeps Beside the salt herb, in the lengthening sun. Now that I have your heart by heart, I see.

HE WAS KNOWN As DJANGO, a Gypsy name meaning "I awake." His legal name-the name the gendarmes and border officials entered into their journals as his family crisscrossed Europe in their horsedrawn caravan-was jean Reinhardt. But when the family brought their travels to a halt alongside a hidden stream or within a safe wood to light their cookfire, they called him only by his Romany name. Even among his fellow Gypsies, "Django" was a strange name, a strong, telegraphic sentence due to its first-person verb construction. It was a name of which Django was exceedingly proud. It bore an immediacy, a sense of life, and a vision of destiny.

Questions of Travel There are too many waterfalls here; the crowded streams hurry too rapidly down to the sea, and the pressure of so many clouds on the mountaintops makes them spill over the sides in soft slow-motion, turning to waterfalls under our very eyes. —For if those streaks, those mile-long, shiny, tearstains, aren't waterfalls yet, in a quick age or so, as ages go here, they probably will be. But if the streams and clouds keep travelling, travelling, the mountains look like the hulls of capsized ships, slime-hung and barnacled. Think of the long trip home. Should we have stayed at home and thought of here? Where should we be today? Is it right to be watching strangers in a play in this strangest of theatres? What childishness is it that while there's a breath of life in our bodies, we are determined to rush to see the sun the other way around? The tiniest green hummingbird in the world? To stare at some inexplicable old stonework, inexplicable and impenetrable, at any view, instantly seen and always, always delightful? Oh, must we dream our dreams and have them, too? And have we room for one more folded sunset, still quite warm? But surely it would have been a pity not to have seen the trees along this road, really exaggerated in their beauty, not to have seen them gesturing like noble pantomimists, robed in pink. —Not to have had to stop for gas and heard the sad, two-noted, wooden tune of disparate wooden clogs carelessly clacking over a grease-stained filling-station floor. (In another country the clogs would all be tested. Each pair there would have identical pitch.) —A pity not to have heard the other, less primitive music of the fat brown bird who sings above the broken gasoline pump in a bamboo church of Jesuit baroque: three towers, five silver crosses. —Yes, a pity not to have pondered, blurredly and inconclusively, on what connection can exist for centuries between the crudest wooden footwear and, careful and finicky, the whittled fantasies of wooden cages. —Never to have studied history in the weak calligraphy of songbirds' cages. —And never to have had to listen to rain so much like politicians' speeches: two hour of unrelenting oratory and then a sudden golden silence in which the traveller takes a notebook, writes: "Is it lack of imagination that makes us come to imagined places, not just stay at home? Or could Pascal have been entirely right about just sitting quietly in one's room? Continent, city, country, society: the choice is never wide and never free. And here, or there...No. Should we have stayed at home, wherever that may be?

I let a few seconds pass by. “I am sure that Macie and Dodger won’t judge you for your eccentric musical tastes. In fact I’m sure they’d sing right along with…AAAAAHHHH!” I screamed as his fingers came down and wiggled against my armpits. I was laughing so hard tears were streaming from my eyes. “Stop, stop, stop!” “Say it.” His voice was gruff but playful. He stopped moving. Taking a deep breath I sang, “Near, far, wherever you are…

The old woman sits on a bench before the door and quarrels With her meagre pale demoralized daughter. Once when I passed I found her alone, laughing in the sun And saying that when she was first married She lived in the old farmhouse up Garapatas Canyon. (It is empty now, the roof has fallen But the log walls hang on the stone foundation; the redwoods Have all been cut down, the oaks are standing; The place is now more solitary than ever before.) "When I was nursing my second baby My husband found a day-old fawn hid in a fern-brake And brought it; I put its mouth to the breast Rather than let it starve, I had milk enough for three babies. Hey how it sucked, the little nuzzler, Digging its little hoofs like quills into my stomach. I had more joy from that than from the others." Her face is deformed with age, furrowed like a bad road With market-wagons, mean cares and decay. She is thrown up to the surface of things, a cell of dry skin Soon to be shed from the earth's old eye-brows, I see that once in her spring she lived in the streaming arteries, The stir of the world, the music of the mountain.

Captain Harcourt-Bruce was not only dashing, handsome, and brave, he was also rather romantic. The reappearance of magic in England thrilled him immensely. He was a great reader of the more exciting sort of history - and his head was full of ancient battles in which the English were outnumbered by the French and doomed to die, when all at once would be heard the sound of strange, unearthly music, and upon a hilltop would appear the Raven King in his tall, black helmet with it's mantling of raven-feathers streaming in the wind; he would gallop down the hillside on his tall, black horse with a hundred human knights and a hundred fairy knights at his back, and he would defeat the French by magic. That was Captain Harcourt-Bruce's idea of a magician. That was the sort of thing which he now expected to see reproduced on every battlefield on the Continent. So when he saw Mr Norrell in his drawing-room in Hanoversquare, and after he had sat and watched Mr Norrell peevishly complain to his footman, first that the cream in his tea was too creamy, and next that it was too watery - well, I shall not surprize you when I say he was somewhat disappointed. In fact he was so downcast by the whole undertaking that Admiral Paycocke, a bluff old gentleman, felt rather sorry for him and only had the heart to laugh at him and tease him very moderately about it.

I know not how thou singest, my master! I ever listen in silent amazement. The light of thy music illumines the world. The life breath of thy music runs from sky to sky. The holy stream of thy music breaks through all stony obstacles and rushes on. My heart longs to join in thy song, but vainly struggles for a voice. I would speak, but speech breaks not into song, and I cry out baffled. Ah, thou hast made my heart captive in the endless meshes of thy music, my master!

We are the music makers, We are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams;— World-losers and world-forsakers, On whom the pale moon gleams: We are the movers and shakers Of the world for ever, it seems.

In the music of the rushing stream sounds the joyful assurance, "I shall become the sea." It is not a vain assumption; it is true humility, for it is the truth. The river has no other alternative. On both sides of its banks it has numerous fields and forests, villages and towns; it can serve them in various ways, cleanse them and feed them, carry their produce from place to place. But it can have only partial relations with these, and however long it may linger among them it remains separate; it never can become a town or a forest. But it can and does become the sea. The lesser moving water has its affinity with the great motionless water of the ocean. It moves through the thousand objects on its onward course, and its motion finds its finality when it reaches the sea.

One day, soon after her disappearance, an attack of abominable nausea forced me to pull up on the ghost of an old mountain road that now accompanied, now traversed a brand new highway, with its population of asters bathing in the detached warmth of a pale-blue afternoon in late summer. After coughing myself inside out I rested a while on a boulder and then thinking the sweet air might do me good, walked a little way toward a low stone parapet on the precipice side of the highway. Small grasshoppers spurted out of the withered roadside weeds. A very light cloud was opening its arms and moving toward a slightly more substantial one belonging to another, more sluggish, heavenlogged system. As I approached the friendly abyss, I grew aware of a melodious unity of sounds rising like vapor from a small mining town that lay at my feet, in a fold of the valley. One could make out the geometry of the streets between blocks of red and gray roofs, and green puffs of trees, and a serpentine stream, and the rich, ore-like glitter of the city dump, and beyond the town, roads crisscrossing the crazy quilt of dark and pale fields, and behind it all, great timbered mountains. But even brighter than those quietly rejoicing colors - for there are colors and shades that seem to enjoy themselves in good company - both brighter and dreamier to the ear than they were to the eye, was that vapory vibration of accumulated sounds that never ceased for a moment, as it rose to the lip of granite where I stood wiping my foul mouth. And soon I realized that all these sounds were of one nature, that no other sounds but these came from the streets of the transparent town, with the women at home and the men away. Reader! What I heard was but the melody of children at play, nothing but that, and so limpid was the air that within this vapor of blended voices, majestic and minute, remote and magically near, frank and divinely enigmatic - one could hear now and then, as if released, an almost articulate spurt of vivid laughter, or the crack of a bat, or the clatter of a toy wagon, but it was all really too far for the eye to distinguish any movement in the lightly etched streets. I stood listening to that musical vibration from my lofty slope, to those flashes of separate cries with a kind of demure murmur for background, and then I knew that the hopelessly poignant thing was not Lolita's absence from my side, but the absence of her voice from that concord.

Today, the medium contains multitudes and man needs only pick one thing he likes and feast exclusively on a stream dedicated to it. There’s twenty-four hours of blues, surf music, left-wing whining, right-wing badgering, any stripe of belief imaginable. There are stories as interesting as lemming suicides and totally true, like the fact that whale songs have inexplicably lowered in pitch 30 percent since the sixties. But these stories are buried on animal documentary channels, where they will probably never capture the general public’s imagination.

He felt the ripples upon his face and heard their separate sounds as they struck. He looked at the forest on the bank of the stream, saw the individual trees, the leaves and the veining of each leaf — he saw the very insects upon them: the locusts, the brilliant bodied flies, the gray spiders stretching their webs from twig to twig. He noted the prismatic colors in all the dewdrops upon a million blades of grass. The humming of the gnats that danced above the eddies of the stream, the beating of the dragon flies’ wings, the strokes of the water spiders’ legs, like oars which had lifted their boat — all these made audible music.

We are the music makers And we are the dreamers of dreams, Wandering by lonely sea-breakers, And sitting by desolate streams; World losers and world forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world, forever, it seems. With wonderful deathless ditties We build up with world’s great cities, And out of a fabulous story We fashion an empire’s glory: One man with a dream, at pleasure Shall go forth and conquer a crown; And three with a new song’s measure Can trample an empire down. We in the ages lying, In the buried past of the earth, Built Nineveh with our sighing, And Babel itself with our mirth.

The music surged down the stairs like a flashing stream—it gathered in the corridor and burst like a waterfall through the wide entry doors. It splashed over a small, lonely figure crouching on the lowest step, dark and colorless like an un-moving lump of black, a little hillock with mad, unresting eyes. It was the old man who had freed himself with such difficulty from the unrelenting window. He crouched in the corner, lost and done for, with bowed shoulders and knees drawn high, as though he would never rise again—and over him, and away in gay and flashing cascades, the music splashed and danced, strong, pitiless, unceasing as life itself.

We began before words, and we will end beyond them. It sometimes seems to me that our days are poisoned with too many words. Words said and not meant. Words said ‘and’ meant. Words divorced from feeling. Wounding words. Words that conceal. Words that reduce. Dead words. If only words were a kind of fluid that collects in the ears, if only they turned into the visible chemical equivalent of their true value, an acid, or something curative – then we might be more careful. Words do collect in us anyway. They collect in the blood, in the soul, and either transform or poison people’s lives. Bitter or thoughtless words poured into the ears of the young have blighted many lives in advance. We all know people whose unhappy lives twist on a set of words uttered to them on a certain unforgotten day at school, in childhood, or at university. We seem to think that words aren’t things. A bump on the head may pass away, but a cutting remark grows with the mind. But then it is possible that we know all too well the awesome power of words – which is why we use them with such deadly and accurate cruelty. We are all wounded inside one way or other. We all carry unhappiness within us for some reason or other. Which is why we need a little gentleness and healing from one another. Healing in words, and healing beyond words. Like gestures. Warm gestures. Like friendship, which will always be a mystery. Like a smile, which someone described as the shortest distance between two people. Yes, the highest things are beyond words. That is probably why all art aspires to the condition of wordlessness. When literature works on you, it does so in silence, in your dreams, in your wordless moments. Good words enter you and become moods, become the quiet fabric of your being. Like music, like painting, literature too wants to transcend its primary condition and become something higher. Art wants to move into silence, into the emotional and spiritual conditions of the world. Statues become melodies, melodies become yearnings, yearnings become actions. When things fall into words they usually descend. Words have an earthly gravity. But the best things in us are those that escape the gravity of our deaths. Art wants to pass into life, to lift it; art wants to enchant, to transform, to make life more meaningful or bearable in its own small and mysterious way. The greatest art was probably born from a profound and terrible silence – a silence out of which the greatest enigmas of our life cry: Why are we here? What is the point of it all? How can we know peace and live in joy? Why be born in order to die? Why this difficult one-way journey between the two mysteries? Out of the wonder and agony of being come these cries and questions and the endless stream of words with which to order human life and quieten the human heart in the midst of our living and our distress. The ages have been inundated with vast oceans of words. We have been virtually drowned in them. Words pour at us from every angle and corner. They have not brought understanding, or peace, or healing, or a sense of self-mastery, nor has the ocean of words given us the feeling that, at least in terms of tranquility, the human spirit is getting better. At best our cry for meaning, for serenity, is answered by a greater silence, the silence that makes us seek higher reconciliation. I think we need more of the wordless in our lives. We need more stillness, more of a sense of wonder, a feeling for the mystery of life. We need more love, more silence, more deep listening, more deep giving.

IRELAND Spenserian Sonnet abab, bcbc, cdcd, ee What is it about the Kelly velvet hillsides and the hoary avocado sea, The vertical cliffs where the Gulf Stream commences its southern bend, Slashing like a sculptor gone mad or a rancorous God who’s angry, Heaving galaxies of lichen shrouded stones for potato farmers to tend, Where the Famine and the Troubles such haunting aspects lend, Music and verse ring with such eloquence in their whimsical way, Let all, who can hear, rejoice as singers’ intonations mend, Gaelic souls from Sligo and Trinity Green to Cork and Dingle Bay, Where fiddle, bodhran, tin whistle, and even God, indulge to play, Ould sod to Beckett, Wilde and Yeats, Heaney and James Joyce, In this verdant, welcoming land, ‘tis the poet who rules the day. Where else can one hear a republic croon in so magnificent a voice? Primal hearts of Celtic chieftains pulse, setting inspiration free, In genial confines of chic caprice, we’re stirred by synchronicity.

Andrea Meyer: What do you think your films offer to people today? Agnès Varda: I would say energy. I would say love for filming, intuition. I mean, a woman working with her intuition and trying to be intelligent. It's like a stream of feelings, intuition, and joy of discovering things. Finding beauty where it's maybe not. Seeing. And, on the other hand, trying to be structural, organized; trying to be clever. And doing what I believe is cinécriture, what I always call cine-writing. Which is not a screenplay. Which is not only the narration words. It's choosing the subject, choosing the place, the season, the crew, choosing the shots, the place, the lens, the light. Choosing your attitude towards people, towards actors. Then choosing the editing, the music. Choosing contemporary musicians. Choosing the tune of the mixing. Choosing the publicity material, the press book, the poster. You know, it's a handmade work of filmmaking - that I really believe. And I call that cine-writing.

Let us spend one day as deliberately as Nature, and not be thrown off the track by every nutshell and mosquito's wing that falls on the rails. Let us rise early and fast, or break fast, gently and without perturbation; let company come and let company go, let the bells ring and the children cry, -- determined to make a day of it. Why should we knock under and go with the stream? Let us not be upset and overwhelmed in that terrible rapid and whirlpool called a dinner, situated in the meridian shallows. Weather this danger and you are safe, for the rest of the way is down hill. With unrelaxed nerves, with morning vigor, sail by it, looking another way, tied to the mast like Ulysses. If the engine whistles, let it whistle till it is hoarse for its pains. If the bell rings, why should we run? We will consider what kind of music they are like. Let us settle ourselves, and work and wedge our feet downward through the mud and slush of opinion, and prejudice, and tradition, and delusion, and appearance, that alluvion which covers the globe, through Paris and London, through New York and Boston and Concord, through church and state, through poetry and philosophy and religion, till we come to a hard bottom and rocks in place, which we can call reality, and say, This is, and no mistake; and then begin, having a point d'appui, below freshet and frost and fire, a place where you might found a wall or a state, or set a lamp-post safely, or perhaps a gauge, not a Nilometer, but a Realometer, that future ages might know how deep a freshet of shams and appearances had gathered from time to time. If you stand right fronting and face to face to a fact, you will see the sun glimmer on both its surfaces, as if it were a cimeter, and feel its sweet edge dividing you through the heart and marrow, and so you will happily conclude your mortal career. Be it life or death, we crave only reality. If we are really dying, let us hear the rattle in our throats and feel cold in the extremities; if we are alive, let us go about our business. Time is but the stream I go a-fishing in. I drink at it; but while I drink I see the sandy bottom and detect how shallow it is. Its thin current slides away, but eternity remains. I would drink deeper; fish in the sky, whose bottom is pebbly with stars. I cannot count one. I know not the first letter of the alphabet. I have always been regretting that I was not as wise as the day I was born. The intellect is a cleaver; it discerns and rifts its way into the secret of things. I do not wish to be any more busy with my hands than is necessary. My head is hands and feet. I feel all my best faculties concentrated in it. My instinct tells me that my head is an organ for burrowing, as some creatures use their snout and fore-paws, and with it I would mine and burrow my way through these hills. I think that the richest vein is somewhere hereabouts; so by the divining rod and thin rising vapors I judge; and here I will begin to mine.

Really I don’t. And you know if you get so you can’t see you won’t be able to write.” “I’ll dictate,” Roger said. “Like Milton.” “I know you dictate beautifully,” young Tom said. “But this morning when Miss Phelps tried to take it off the machine it was mostly music.” “I’m writing an opera,” Roger said. “I know you’ll write a wonderful opera, Mr. Davis. But don’t you think we ought to finish the novel first? You took a big advance on the novel.” “Finish it yourself,” Roger said. “You ought to know the plot by now.” “I know the plot, Mr. Davis, and it’s a lovely plot but it has that same girl in it that you had die in that other book and people may be confused.” “Dumas did the same thing.

How beautiful, how beautiful you streamed upon my sight, In glory and in grandeur, as a gorgeous sunset-light! How softly, soul-subduing, fell your words upon mine ear, Like low aerial music when some angel hovers near! What tremulous, faint ecstasy to clasp your hand in mine, Till the darkness fell upon me of a glory too divine! The air around grew languid with our intermingled breath, And in your beauty's shadow I sank motionless as death. I saw you not, I heard not, for a mist was on my brain--I only felt that life could give no joy like that again. And this was love--I knew it not, but blindly floated on, And now I'm on the ocean waste, dark, desolate, alone; The waves are raging round me-- I'm reckless where they guide; No hope is left to lighten me, no strength to stem the tide. As a leaf along the torrent, a cloud across the sky, As dust upon the whirlwind, so my life is drifting by. The dream that drank the meteor's light--the form from Heav'n has flown-- The vision and the glory, they are passing--they are gone. Oh! Love is frantic agony, and life one throb of pain; Yet I would bear its darkest woes to dream again.

The whole secret lies in confusing the enemy, so that he cannot fathom our real intent.’” To put it perhaps a little more clearly: any attack or other operation is CHENG, on which the enemy has had his attention fixed; whereas that is CH’I,” which takes him by surprise or comes from an unexpected quarter. If the enemy perceives a movement which is meant to be CH’I,” it immediately becomes CHENG.”] 4.    That the impact of your army may be like a grindstone dashed against an egg— this is effected by the science of weak points and strong. 5.    In all fighting, the direct method may be used for joining battle, but indirect methods will be needed in order to secure victory. [Chang Yu says: “Steadily develop indirect tactics, either by pounding the enemy’s flanks or falling on his rear.” A brilliant example of “indirect tactics” which decided the fortunes of a campaign was Lord Roberts’ night march round the Peiwar Kotal in the second Afghan war.76 6.    Indirect tactics, efficiently applied, are inexhausible as Heaven and Earth, unending as the flow of rivers and streams; like the sun and moon, they end but to begin anew; like the four seasons, they pass away to return once more. [Tu Yu and Chang Yu understand this of the permutations of CH’I and CHENG.” But at present Sun Tzu is not speaking of CHENG at all, unless, indeed, we suppose with Cheng Yu-hsien that a clause relating to it has fallen out of the text. Of course, as has already been pointed out, the two are so inextricably interwoven in all military operations, that they cannot really be considered apart. Here we simply have an expression, in figurative language, of the almost infinite resource of a great leader.] 7.    There are not more than five musical notes, yet the combinations of these five give rise to more melodies than can ever be heard. 8.    There are not more than five primary colors (blue, yellow, red, white, and black), yet in combination they produce more hues than can ever been seen. 9.    There are

WE are the music-makers, And we are the dreamers of dreams, Wandering by lone sea-breakers, And sitting by desolate streams; World-losers and world-forsakers, On whom the pale moon gleams: Yet we are the movers and shakers Of the world for ever, it seems. With wonderful deathless ditties We build up the world's great cities, And out of a fabulous story We fashion an empire's glory: One man with a dream, at pleasure, Shall go forth and conquer a crown; And three with a new song's measure Can trample an empire down. We, in the ages lying In the buried past of the earth, Built Nineveh with our sighing, And Babel itself with our mirth; And o'erthrew them with prophesying To the old of the new world's worth; For each age is a dream that is dying, Or one that is coming to birth.

Driving through the crowded city streets and gazing upon the bizarre stream of humanity had been quite an experience for the pair but walking amongst it, actually being trapped shoulder to shoulder with some of the city's freakish denizens was something entirely different. Here the noise was amplified, loud with shouting, screaming, chattering, the sounds of traffic, the thundering of music from clubs and from hotted up car stereo systems, the wailing of sirens. Miller felt diseased just striding amongst it, dressed in his blasphemous disguise. Exiting the parking station was akin to being propelled into the outer rings of hell on a course which would launch he and Friar into the very bowels of the infernal pit AKA the Victory Ampitheatre where Satan's messengers would blast their horrendous music. Sinister Cavan, coming in April in Axes of Evil

The fortnight in Venice passed quickly and sweetly- perhaps too sweetly; I was drowning in honey, stingless. On some days life kept pace with the gondola, as we nosed through the side canals and the boatman uttered his plaintive musical bird-cry of warning; on other days with the speed-boat bouncing over the lagoon in a stream of sun-lit foam; it left a confused memory of fierce sunlight on the sands and cool, marble interiors; of water everywhere, lapping on smooth stone, reflected in a dapple of light on painted cielings; of a night at the Corombona palace such as Byron might have known, and another Byronic night fishing for scampi in the shallows of Chioggia, the phosphorescent wake of the little ship, the lantern swinging in the prow, and the net coming up full of weed and sand and floundering fishes; of melon and prosciutto on the balcony in the cool of the morning; of hot cheese sandwiches and champagne cocktails at Harrys Bar.

In the campaign of 1876, Robert G. Ingersoll came to Madison to speak. I had heard of him for years; when I was a boy on the farm a relative of ours had testified in a case in which Ingersoll had appeared as an attorney and he had told the glowing stories of the plea that Ingersoll had made. Then, in the spring of 1876, Ingersoll delivered the Memorial Day address at Indianapolis. It was widely published shortly after it was delivered and it startled and enthralled the whole country. I remember that it was printed on a poster as large as a door and hung in the post-office at Madison. I can scarcely convey now, or even understand, the emotional effect the reading of it produced upon me. Oblivious of my surroundings, I read it with tears streaming down my face. It began, I remember: "The past rises before me like a dream. Again we are in the great struggle for national life.We hear the sounds of preparation--the music of boisterous drums--the silver voices of heroic bugles. We see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers..." I was fairly entranced. he pictured the recruiting of the troops, the husbands and fathers with their families on the last evening, the lover under the trees and the stars; then the beat of drums, the waving flags, the marching away; the wife at the turn of the lane holds her baby aloft in her arms--a wave of the hand and he has gone; then you see him again in the heat of the charge. It was wonderful how it seized upon my youthful imagination. When he came to Madison I crowded myself into the assembly chamber to hear him: I would not have missed it for every worldly thing I possessed. And he did not disappoint me. A large handsome man of perfect build, with a face as round as a child's and a compelling smile--all the arts of the old-time oratory were his in high degree. He was witty, he was droll, he was eloquent: he was as full of sentiment as an old violin. Often, while speaking, he would pause, break into a smile, and the audience, in anticipation of what was to come, would follow him in irresistible peals of laughter. I cannot remember much that he said, but the impression he made upon me was indelible. After that I got Ingersoll's books and never afterward lost an opportunity to hear him speak. He was the greatest orater, I think, that I have ever heard; and the greatest of his lectures, I have always thought, was the one on Shakespeare. Ingersoll had a tremendous influence upon me, as indeed he had upon many young men of that time. It was not that he changed my beliefs, but that he liberated my mind. Freedom was what he preached: he wanted the shackles off everywhere. He wanted men to think boldly about all things: he demanded intellectual and moral courage. He wanted men to follow wherever truth might lead them. He was a rare, bold, heroic figure.

I like flowers because they are presentable, birds because they are musical, trees because they are natural, plants because they are beneficial, dogs because they are loyal, foxes because they are guileful, wolves because they are forceful, lions because they are royal, sharks because they are remarkable, crocodiles because they are formidable, bees because they are exceptional, spiders because they are artful, ants because they are responsible, chameleons because they are colorful, hawks because they are special, falcons because they are noble, owls because they are watchful, eagles because they are regal, streams because they are peaceful, rivers because they are predictable, lakes because they are crucial, oceans because they are beautiful, skies because they are delightful, stars because they are celestial, planets because they are spiritual, galaxies because they are incredible, winters because they are essential, summers because they are enjoyable, autumns because they are graceful, and springs because they are wonderful.

Homer's Hymn to the Sun Published by Mrs. Shelley, "Poetical Works", 1839, 2nd edition; dated 1818. Offspring of Jove, Calliope, once more To the bright Sun, thy hymn of music pour; Whom to the child of star-clad Heaven and Earth Euryphaessa, large-eyed nymph, brought forth; Euryphaessa, the famed sister fair Of great Hyperion, who to him did bear A race of loveliest children; the young Morn, Whose arms are like twin roses newly born, The fair-haired Moon, and the immortal Sun, Who borne by heavenly steeds his race doth run Unconquerably, illuming the abodes Of mortal Men and the eternal Gods. Fiercely look forth his awe-inspiring eyes, Beneath his golden helmet, whence arise And are shot forth afar, clear beams of light; His countenance, with radiant glory bright, Beneath his graceful locks far shines around, And the light vest with which his limbs are bound, Of woof aethereal delicately twined, Glows in the stream of the uplifting wind. His rapid steeds soon bear him to the West; Where their steep flight his hands divine arrest, And the fleet car with yoke of gold, which he Sends from bright Heaven beneath the shadowy sea

In 1911, the poet Morris Rosenfeld wrote the song “Where I Rest,” at a time when it was the immigrant Italians, Irish, Poles, and Jews who were exploited in the worst jobs, worked to death or burned to death in sweatshops.[*] It always brings me to tears, provides one metaphor for the lives of the unlucky:[19] Where I Rest Look not for me in nature’s greenery You will not find me there, I fear. Where lives are wasted by machinery That is where I rest, my dear. Look not for me where birds are singing Enchanting songs find not my ear. For in my slavery, chains a-ringing Is the music I do hear. Not where the streams of life are flowing I draw not from these fountains clear. But where we reap what greed is sowing Hungry teeth and falling tears. But if your heart does love me truly Join it with mine and hold me near. Then will this world of toil and cruelty Die in birth of Eden here.[*] It is the events of one second before to a million years before that determine whether your life and loves unfold next to bubbling streams or machines choking you with sooty smoke. Whether at graduation ceremonies you wear the cap and gown or bag the garbage. Whether the thing you are viewed as deserving is a long life of fulfillment or a long prison sentence. There is no justifiable “deserve.” The only possible moral conclusion is that you are no more entitled to have your needs and desires met than is any other human. That there is no human who is less worthy than you to have their well-being considered.[*] You may think otherwise, because you can’t conceive of the threads of causality beneath the surface that made you you, because you have the luxury of deciding that effort and self-discipline aren’t made of biology, because you have surrounded yourself with people who think the same.

My mouth went paper-dry as Alis fluffed out the sparkling train of my gown in the shadow of the garden doors. Silk and gossamer rustled and sighed, and I gripped the pale bouquet in my gloved hands, nearly snapping the stems. Elbow-length silk gloves- to hide the marking. Ianthe had delivered them herself this morning in a velvet-lined box. 'Don't be nervous,' Alis chuckled, her tree-bark skin rich and flushed in the honey gold evening light. 'I'm not,' I rasped. 'You're fidgeting like my youngest nephew during a haircut.' She finished fussing over my dress, shooing away some servants who'd come to spy on me before the ceremony. I pretended I didn't see them or the glittering, sunset-gilded crowd seated in the courtyard ahead, and toyed with some invisible fleck on my skirts. 'You look beautiful,' Alis said quietly. I was fairly certain her thoughts on the dress were the same as my own, but I believed her. 'Thank you.' 'And you sound like you're going to your funeral.' I plastered a grin on my face. Alis rolled her eyes. But she nudged me toward the doors as they opened on some immortal wind, lilting music streaming in. 'It's be over faster than you can blink,' she promised, and gently nudged me into the last of the sunlight.

My heart aches, and a drowsy numbness pains My sense, as though of hemlock I had drunk, Or emptied some dull opiate to the drains One minute past, and Lethe-wards had sunk: 'Tis not through envy of thy happy lot, But being too happy in thine happiness,— That thou, light-winged Dryad of the trees In some melodious plot Of beechen green, and shadows numberless, Singest of summer in full-throated ease. O for a beaker full of the warm South, Full of the true, the blushful Hippocrene, With beaded bubbles winking at the brim, And purple-stained mouth; That I might drink, and leave the world unseen, And with thee fade away into the forest dim: Fade far away, dissolve, and quite forget What thou among the leaves hast never known, The weariness, the fever, and the fret Here, where men sit and hear each other groan; Where palsy shakes a few, sad, last gray hairs, Where youth grows pale, and spectre-thin, and dies; Where but to think is to be full of sorrow And leaden-eyed despairs, Where Beauty cannot keep her lustrous eyes, Or new Love pine at them beyond to-morrow. Away! away! for I will fly to thee, Not charioted by Bacchus and his pards, But on the viewless wings of Poesy, Though the dull brain perplexes and retards: Already with thee! tender is the night, And haply the Queen-Moon is on her throne, Cluster'd around by all her starry Fays; But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. I cannot see what flowers are at my feet, Nor what soft incense hangs upon the boughs, But, in embalmed darkness, guess each sweet Wherewith the seasonable month endows The grass, the thicket, and the fruit-tree wild; White hawthorn, and the pastoral eglantine; Fast fading violets cover'd up in leaves; And mid-May's eldest child, The coming musk-rose, full of dewy wine, The murmurous haunt of flies on summer eves. Darkling I listen; and, for many a time I have been half in love with easeful Death, Call'd him soft names in many a mused rhyme, To take into the air my quiet breath; Now more than ever seems it rich to die, To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad Thou wast not born for death, immortal Bird! No hungry generations tread thee down; The voice I hear this passing night was heard In ancient days by emperor and clown: Perhaps the self-same song that found a path Through the sad heart of Ruth, when, sick for home, She stood in tears amid the alien corn; The same that oft-times hath Charm'd magic casements, opening on the foam Of perilous seas, in faery lands forlorn. Forlorn! the very word is like a bell To toll me back from thee to my sole self! Adieu! the fancy cannot cheat so well As she is fam'd to do, deceiving elf. Adieu! adieu! thy plaintive anthem fades Past the near meadows, over the still stream, Up the hill-side; and now 'tis buried deep In the next valley-glades: Was it a vision, or a waking dream? Fled is that music:—Do I wake or sleep? - Ode to a Nightingale

They [mountains] are portions of the heart of the earth that have escaped from the dungeon down below, and rushed up and out. For the heart of the earth is a great wallowing mass, not of blood, as in the hearts of men and animals, but of glowing hot melted metals and stones. And as our hearts keep us alive, so that great lump of heat keeps the earth alive: it is a huge power of buried sunlight—that is what it is. Now think: out of that caldron, where all the bubbles would be as big as the Alps if it could get room for its boiling, certain bubbles have bubbled out and escaped—up and away, and there they stand in the cool, cold sky—mountains. Think of the change, and you will no more wonder that there should be something awful about the very look of a mountain: from the darkness—for where the light has nothing to shine upon, it is much the same as darkness—from the heat, from the endless tumult of boiling unrest—up, with a sudden heavenward shoot, into the wind, and the cold, and the starshine, and a cloak of snow that lies like ermine above the blue-green mail of the glaciers; and the great sun, their grandfather, up there in the sky; and their little old cold aunt, the moon, that comes wandering about the house at night; and everlasting stillness, except for the wind that turns the rocks and caverns into a roaring organ for the young archangels that are studying how to let out the pent-up praises of their hearts, and the molten music of the streams, rushing ever from the bosoms of the glaciers fresh-born. Think too of the change in their own substance—no longer molten and soft, heaving and glowing, but hard and shining and cold. Think of the creatures scampering over and burrowing in it, and the birds building their nests upon it, and the trees growing out of its sides, like hair to clothe it, and the lovely grass in the valleys, and the gracious flowers even at the very edge of its armour of ice, like the rich embroidery of the garment below, and the rivers galloping down the valleys in a tumult of white and green! And along with all these, think of the terrible precipices down which the traveller may fall and be lost, and the frightful gulfs of blue air cracked in the glaciers, and the dark profound lakes, covered like little arctic oceans with floating lumps of ice. All this outside the mountain! But the inside, who shall tell what lies there? Caverns of awfullest solitude, their walls miles thick, sparkling with ores of gold or silver, copper or iron, tin or mercury, studded perhaps with precious stones—perhaps a brook, with eyeless fish in it, running, running ceaseless, cold and babbling, through banks crusted with carbuncles and golden topazes, or over a gravel of which some of the stones are rubies and emeralds, perhaps diamonds and sapphires—who can tell?—and whoever can't tell is free to think—all waiting to flash, waiting for millions of ages—ever since the earth flew off from the sun, a great blot of fire, and began to cool. Then there are caverns full of water, numbing cold, fiercely hot—hotter than any boiling water. From some of these the water cannot get out, and from others it runs in channels as the blood in the body: little veins bring it down from the ice above into the great caverns of the mountain's heart, whence the arteries let it out again, gushing in pipes and clefts and ducts of all shapes and kinds, through and through its bulk, until it springs newborn to the light, and rushes down the mountain side in torrents, and down the valleys in rivers—down, down, rejoicing, to the mighty lungs of the world, that is the sea, where it is tossed in storms and cyclones, heaved up in billows, twisted in waterspouts, dashed to mist upon rocks, beaten by millions of tails, and breathed by millions of gills, whence at last, melted into vapour by the sun, it is lifted up pure into the air, and borne by the servant winds back to the mountain tops and the snow, the solid ice, and the molten stream.

The world was young, the mountains green, No stain yet on the Moon was seen, No words were laid on stream or stone When Durin woke and walked alone. He named the nameless hills and dells; He drank from yet untasted wells; He stooped and looked in Mirrormere, And saw a crown of stars appear, As gems upon a silver thread, Above the shadow of his head. The world was fair, the mountains tall, In Elder Days before the fall Of mighty kings in Nargothrond And Gondolin, who now beyond The Western Seas have passed away: The world was fair in Durin’s Day. A king he was on carven throne In many-pillared halls of stone With golden roof and silver floor, And runes of power upon the door. The light of sun and star and moon In shining lamps of crystal hewn Undimmed by cloud or shade of night There shone for ever fair and bright. There hammer on the anvil smote, There chisel clove, and graver wrote; There forged was blade, and bound was hilt; The delver mined, the mason built. There beryl, pearl, and opal pale, And metal wrought like fishes’ mail, Buckler and corslet, axe and sword, And shining spears were laid in hoard. Unwearied then were Durin’s folk; Beneath the mountains music woke: The harpers harped, the minstrels sang, And at the gates the trumpets rang. The world is grey, the mountains old, The forge’s fire is ashen-cold; No harp is wrung, no hammer falls: The darkness dwells in Durin’s halls; The shadow lies upon his tomb In Moria, in Khazad-dûm. But still the sunken stars appear In dark and windless Mirrormere; There lies his crown in water deep, Till Durin wakes again from sleep.

Magnus’s head was tipped back, his shimmering white suit rumpled like bedsheets in the morning, his white cloak swaying after him like a moonbeam. His mirrorlike mask was askew, his black hair wild, his slim body arching with the dance, and wrapped around his fingers like ten shimmering rings was the light of his magic, casting a spotlight on one dancer, then another. The faerie Hyacinth caught one radiant stream of magic and whirled, holding on to it as if the light were a ribbon on a maypole. The vampire woman in the violet cheongsam, Lily, was dancing with another vampire who Alec presumed was Elliott, given the blue and green stains around his mouth and all down his shirtfront. Malcolm Fade joined in the dance with Hyacinth, though he appeared to be doing a jig and she seemed very puzzled. The blue warlock who Magnus had called Catarina was waltzing with a tall horned faerie.The dark-skinned faerie whom Magnus had addressed as a prince was surrounded by others whom Alec presumed were courtiers, dancing in a circle around him. Magnus laughed as he saw Hyacinth using his magic like a ribbon, and sent shimmering streamers of blue light in several directions. Catarina batted away Magnus’s magic, her own hand glowing faintly white. The two vampires Lily and Elliott both let a magic ribbon wrap around one of their wrists. They did not seem like trusting types, but they instantly leaned into Magnus with perfect faith, Lily pretending to be a captive and Elliott shimmying enthusiastically as Magnus laughed and pulled them toward him in the dance. Music and starshine filled the room, and Magnus shone brightest in all that bright company. As Alec made for the stairs, he brushed past Raphael Santiago, who was leaning against the balcony rail and looking down at the dancing crowd, his dark eyes lingering on Lily and Elliott and Magnus. There was a tiny smile on the vampire’s face. When Raphael noticed Alec, the scowl snapped immediately back on. “I find such wanton expressions of joy disgusting,” he declaimed. “If you say so,” said Alec. “I like it myself.” He reached the foot of the stairs and was crossing the gleaming ballroom floor when a voice boomed out from above. “This is DJ Bat, greatest werewolf DJ in the world, or at least in the top five, coming to you live from Venice because warlocks make irresponsible financial decisions, and this one is for the lovers! Or people with friends who will dance with them. Some of us are lonely jerks, and we’ll be doing shots at the bar.

Ione II. 'TWAS in the radiant summer weather, When God looked, smiling, from the sky; And we went wand'ring much together By wood and lane, Ione and I, Attracted by the subtle tie Of common thoughts and common tastes, Of eyes whose vision saw the same, And freely granted beauty's claim Where others found but worthless wastes. We paused to hear the far bells ringing Across the distance, sweet and clear. We listened to the wild bird's singing The song he meant for his mate's ear, And deemed our chance to do so dear. We loved to watch the warrior Sun, With flaming shield and flaunting crest, Go striding down the gory West, When Day's long fight was fought and won. And life became a different story; Where'er I looked, I saw new light. Earth's self assumed a greater glory, Mine eyes were cleared to fuller sight. Then first I saw the need and might Of that fair band, the singing throng, Who, gifted with the skill divine, Take up the threads of life, spun fine, And weave them into soulful song. They sung for me, whose passion pressing My soul, found vent in song nor line. They bore the burden of expressing All that I felt, with art's design, And every word of theirs was mine. I read them to Ione, ofttimes, By hill and shore, beneath fair skies, And she looked deeply in mine eyes, And knew my love spoke through their rhymes. Her life was like the stream that floweth, And mine was like the waiting sea; Her love was like the flower that bloweth, And mine was like the searching bee — I found her sweetness all for me. God plied him in the mint of time, And coined for us a golden day, And rolled it ringing down life's way With love's sweet music in its chime. And God unclasped the Book of Ages, And laid it open to our sight; Upon the dimness of its pages, So long consigned to rayless night, He shed the glory of his light. We read them well, we read them long, And ever thrilling did we see That love ruled all humanity, — The master passion, pure and strong.

Then Daniel stepped forward and a trumpet sounded, followed by a drum. The dance was beginning. He took her hand. When he spoke, he spoke to her, not to the audience,as the other players did. "The fairest hand I ever touched," Daniel said. "O Beauty, till now I never knew thee." As if the lines had been written for the two of them. They began to dance,and Daniel locked eyes with her the whole time. His eyes were crystal clear and violet, and the way they never strayed from hers chipped away at Luce's heart. She knew he'd loved her always,but until this moment,dancing with him on the stage in front of all these people,she had never really thought about what it meant. It meant that when she saw him for the first time in every life,Daniel was already in love with her. Every time. And always had been. And every time, she had to fall in love with him from scratch.He could never pressure her or push her into loving him. He had to win her anew each time. Daniel's love for her was one long, uninterrupted stream.It was the purest form of love there was,purer even than the love Luce returned. His love flowed without breaking,without stopping. Whereas Luce's love was wiped clean with every death, Daniel's grew over time, across all eternity. How powerfully strong must it be by now? Hundreds of love stacked one on top of the other? It was almost too massive for Luce to comprehend. He loved her that much,and yet in every lifetime,over and over again,he had to wait for her to catch up. All this time,they had been dancing with the rest of the troupe, bounding in and out of the wings at breaks in the music,coming back onstage for more gallantry,for longer sets with more ornate steps,until the whole company was dancing. At the close of the scene,even though it wasn't in the script,even though Cam was standing right there watching,Luce held fast to Daniel's hand and pulled him to her,up against the potted orange trees.He looked at her like she was crazy and tried to tug her to the mark dictated by her stage directions. "What are you doing?" he murmured. He had doubted her before,backstage when she'd tried to speak freely about her feelings.She had to make him believe her.Especially if Lucinda died tonight,understanding the depth of her love would mean everything to him. It would help him to carry on,to keep loving her for hundreds more years, through all the pain and hardship she'd witnessed,right up to the present. Luce knew that it wasn't in the script, but she couldn't stop herself: She grabbed Daniel and she kissed him. She expected him to stop her,but instead he swooped her into his arms and kissed her back.Hard and passionately, responding with such intensity that she felt the way she did when they were flying,though she knew her feet were planted on the ground. For a moment, the audience was silent. Then they began to holler and jeer.Someone threw a shoe at Daniel, but he ignored it. His kisses told Luce that he believed her,that he understood the depth of her love,but she wanted to be absolutely sure. "I will always love you,Daniel." Only, that didn't seem quite right-or not quite enough. She had to make him understand,and damn the consequences-if she changed history,so be it. "I'll always choose you." Yes, that was the word. "Every single lifetime, I'll choose you.Just as you have always chosen me.Forever." His lips parted.Did he believe her? Did he already know? It was a choice, a long-standing, deep-seated choice that reached beyond anything else Luce was capable of.Something powerful was behind it.Something beautiful and- Shadows began to swirl in the rigging overhead. Heat quaked through her body, making her convulse,desperate for the fiery release she knew was coming. Daniel's eyes flashed with pain. "No," he whispered. "Please don't go yet." Somehow,it always took both of them by surprise.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them, In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, not any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur; other gifts Have followed; for such loss, I would believe, Abundant recompense. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man: A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.

If it will reassure you that I’m not a coward, I suppose I could rearrange his face.” Quietly he added, “The music has ended,” and for the first time Elizabeth realized they were no longer waltzing but were only swaying lightly together. With no other excuse to stand in his arms, Elizabeth tried to ignore her disappointment and step back, but just then the musicians began another melody, and their bodies began to move together in perfect time to the music. “Since I’ve already deprived you of your escort for the outing to the village tomorrow,” he said after a minute, “would you consider an alternative?” Her heart soared, because she thought he was going to offer to escort her himself. Again he read her thoughts, but his words were dampening. “I cannot escort you there,” he said flatly. Her smile faded. “Why not?” “Don’t be a henwit. Being seen in my company is hardly the sort of thing to enhance a debutante’s reputation.” Her mind whirled, trying to tally some sort of balance sheet that would disprove his claim. After all, he was a favorite of the Duke of Hammund’s…but while the duke was considered a great matrimonial prize, his reputation as a libertine and rake made mamas fear him as much as they coveted him as a son-in-law. On the other hand, Charise Dumont was considered perfectly respectable by the ton, and so this country gathering was above reproach. Except it wasn’t, according to Lord Howard. “Is that why you refused to dance with me when I asked you to earlier?” “That was part of the reason.” “What was the rest of it?” she asked curiously. His chuckle was grim. “Call it a well-developed instinct for self-preservation.” “What?” “Your eyes are more lethal than dueling pistols, my sweet,” he said wryly. “They could make a saint forget his goal.” Elizabeth had heard many flowery praises sung to her beauty, and she endured them with polite disinterest, but Ian’s blunt, almost reluctant flattery made her chuckle. Later she would realize that at this moment she had made her greatest mistake of all-she had been lulled into regarding him as an equal, a gently bred person whom she could trust, even relax with. “What sort of alternative were you going to suggest for tomorrow?” “Luncheon,” he said. “Somewhere private where we can talk, and where we won’t be seen together.” A cozy picnic luncheon for two was definitely not on Lucinda’s list of acceptable pastimes for London debutantes, but even so, Elizabeth was reluctant to refuse. “Outdoors…by the lake?” she speculated aloud, trying to justify the idea by making it public. “I think it’s going to rain tomorrow, and besides, we’d risk being seen together there.” “Then where?” “In the woods. I’ll meet you at the woodcutter’s cottage at the south end of the property near the stream at eleven. There's a path that leads to it two miles from the gate-off the main road." Elizabeth was too alarmed by such a prospect to stop to wonder how and when Ian Thornton had become so familiar with Charise's property and all its secluded haunts. "Absolutely not," she said in a shaky, breathless voice. Even she was not naïve enough to consider being alone with a man in a cottage, and she was terribly disappointed that he'd suggested it. Gentlemen didn't make such suggestions, and well-bred ladies never accepted them. Lucinda's warnings about such things had been eloquent and, Elizabeth felt, sensible.

These beauteous forms, Through a long absence, have not been to me As is a landscape to a blind man's eye: But oft, in lonely rooms, and 'mid the din Of towns and cities, I have owed to them In hours of weariness, sensations sweet, Felt in the blood, and felt along the heart; And passing even into my purer mind, With tranquil restoration:—feelings too Of unremembered pleasure: such, perhaps, As have no slight or trivial influence On that best portion of a good man's life, His little, nameless, unremembered, acts Of kindness and of love. Nor less, I trust, To them I may have owed another gift, Of aspect more sublime; that blessed mood, In which the burthen of the mystery, In which the heavy and the weary weight Of all this unintelligible world, Is lightened:—that serene and blessed mood, In which the affections gently lead us on,— Until, the breath of this corporeal frame And even the motion of our human blood Almost suspended, we are laid asleep In body, and become a living soul: While with an eye made quiet by the power Of harmony, and the deep power of joy, We see into the life of things. If this Be but a vain belief, yet, oh! how oft— In darkness and amid the many shapes Of joyless daylight; when the fretful stir Unprofitable, and the fever of the world, Have hung upon the beatings of my heart— How oft, in spirit, have I turned to thee, O sylvan Wye! thou wanderer thro' the woods, How often has my spirit turned to thee! And now, with gleams of half-extinguished thought, With many recognitions dim and faint, And somewhat of a sad perplexity, The picture of the mind revives again: While here I stand, not only with the sense Of present pleasure, but with pleasing thoughts That in this moment there is life and food For future years. And so I dare to hope, Though changed, no doubt, from what I was when first I came among these hills; when like a roe I bounded o'er the mountains, by the sides Of the deep rivers, and the lonely streams, Wherever nature led: more like a man Flying from something that he dreads, than one Who sought the thing he loved. For nature then (The coarser pleasures of my boyish days, And their glad animal movements all gone by) To me was all in all.—I cannot paint What then I was. The sounding cataract Haunted me like a passion: the tall rock, The mountain, and the deep and gloomy wood, Their colours and their forms, were then to me An appetite; a feeling and a love, That had no need of a remoter charm, By thought supplied, nor any interest Unborrowed from the eye.—That time is past, And all its aching joys are now no more, And all its dizzy raptures. Not for this Faint I, nor mourn nor murmur, other gifts Have followed; for such loss, I would believe, Abundant recompence. For I have learned To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue. And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. Therefore am I still A lover of the meadows and the woods, And mountains; and of all that we behold From this green earth; of all the mighty world Of eye, and ear,—both what they half create, And what perceive; well pleased to recognise In nature and the language of the sense, The anchor of my purest thoughts, the nurse, The guide, the guardian of my heart, and soul Of all my moral being.